Модель NYL 4N, точное повторение легендарного Ньюйоркера, построенного в  начале 50-х великим американским мастером Джоном Д`Анжелико, но ушедшим из жизни в 70-х.  С тех лет, эти гитары не строили. В конце 90-х под патронажем калифорнийского офиса  их производство было восстановлено, но в Японии. В 2006 из Японии производство D'Angelico переведено в Южную Корею.
Отличается от своего собрата NYL 2 увеличенным на 1 дюйм корпусом, то-есть он не 17``, a 18`` шириной. Многие эту гитару считают повторением джазовой банки Gibson Super 400, тем более  инлеи на фретборде у них похожи, но на самом деле всё наоборот -  New Yorker построен раньше, чем Super 400, значит он - первичен! И вообще, знатоки джазовобаночной темы знают, что D'Angelico по праву считается родоначальником и непревзойдённым образцом джазовой гитары. С уверенностью можно сказать, что японская копия New Yorker нисколько не хуже, а может быть и лучше популярных Gibson S400 и Gibson L5, по крайней мере дешевле, но это продлится не долго !!!
Гитара в состоянии "как новая", на ней не играют, пластик ещё покрывает пикгарду. Я являюсь вторым владельцем этого великого инструмента. В 2010 году я купил этот инструмент у американского коллекционера.
Вот его описание:
I bought this guitar about 4 years ago as an investment, and it still has plastic on the pick guard, the floating pickup and the handle of the case. This guitar is a stunning recreation of a '50s era D'Angelico New Yorker, made in Japan by Vestax. The 18" body has a pressed, solid German spruce top and the 3" deep rims and arched back are laminated maple with beautiful flame figure showing. Because an archtop derives considerable structural strength from its arched top and back, internal bracing is minimal. There is only a single "X" brace under the top. The neck is made from 2 plies of maple, laminated with a dark center stripe. The headstock has an ebony veneer on its face, and a rosewood veneer on the back. The fingerboard is ebony, and has 22 jumbo frets on a 25 1/2 scale. The fret ends are capped by the binding, in the Gibson style. The width at the nut is about 1 3/4, and the neck is large, yet comfortable, with just a hint of "V" shaping. The large mother of pearl block fingerboard inlays are split diagonally, reminiscent of a Gibson Super 400. The body, fingerboard, headstock and even the "f" holes are bound with multiple ply black and cream binding. The headstock carries the "D'Angelico" logo and the "New Yorker" label with the "skyscraper" motif inlayed in pearl. The stairstep theme is also carried out on the truss rod cover, the bound tortoise colored pickguard, and the heavy, gold plated tailpiece. There is even a pearl diamond inlayed in the BACK of the headstock. The overall effect is one of class and elegance. The mix of graceful curves and stairstep straight lines defines the "art deco" school of design like no other guitar can. The guitar is equipped with a single floating mini humbucking pick up, attached to the pickguard. The volume and tone knobs are also mounted to the pickguard. This example is finished in a beautiful natural finish which really sets off the fine wood used. The finish is polyester and is applied very thinly and evenly. The tuners are Grover "Super Rotomatics". These tuners combine the modern die-cast body of the Rotomatic with the "stairstep" style button of the Grover Imperial. They do their job without fuss or fanfare. The tuners and the tailpiece are gold plated. The height adjustable bridge is ebony with two small pearl blocks inlayed on the base. The top piece of the bridge is notched for intonation. The guitar comes is a high quality hardshell case. The case is covered with brown vinyl in an alligator hide pattern, and has gold plated hardware, a "D'Angelico" emblem, and a leather handle. The interior is finished in cream velour, and fits the guitar perfectly.The guitar also comes with a truss rod wrench. I have played both the 17" (NYL 2) and 18" (NYL 4) versions of this guitar. The 17" was good, but there was no comparison to the 18" body. The 18" was much louder, deeper and punchier. Jazz chords are lush and articulate. Single note melodies and clear and full bodied. No matter what you play on this guitar, it sounds great. Plugged in to a small tube amp, the guitar delivers all the tones you'd want for jazz and swing, or even vintage style country or pop styles. Remember, many country and pop records from the 50's and early 60's were recorded by old session pros playing their trusty archtops. Sure, it's a jazz guitar, but why let labels limit you?